MOM/A
STATIONERY
VOLUME 6
NUMBER 3
AUGUST
1998
An Interview with Dorothy A. Yule
Edward H. Hutch ins
Cairo, New York
You might wonder how a French major who
graduated from Barnard College in 1972 ended up
producing imaginative miniature pop-up books.
Dorothy Yule took some art classes in Japanese and
western methods of woodcut printmaking as an
undergraduate and then went on to get a post graduate
certificate in printmaking at London's St. Martin's
School of Art. Back in New York, she took classes in
etching and silkscreen at Pratt Graphics Center and
bookbinding and letterpress printing classes at the
Center for Book Arts. In 1989 she was awarded a
Master's degree from the Mills College Book Arts
Program. This explains how she learned her craft and
technique, but it doesn't explain her creativity and
uninhibited approach to books.
I was introduced to her books when I discovered
"Souvenirs of Great Cities" at the 1995 Washington
Book Fair. To learn more, I met Dorothy in San
Francisco in 1996 and we've continued our bi-coastal
correspondence ever since. One of the first things I
wanted to know was how making books became an
important part of her life.
Souvenirs of Great Cities
1 started making books when I was in grade school.
My earliest were poems with illustrations, folded into
signatures and stapled into little books. I continued to
produce these simple books into my teens. I grew very
interested in printing and printmaking after college. I
was also interested in making books as an expressive
art form. Owing to the real-life problems of earning a
living, it was many years before I had the opportunity
to pick up this study again. Now I work as a designer
at a newspaper to support my book work.
How did your art background, miniature books and
pop-ups all come together?
Several years ago I made a little book for a friend
for her birthday. It was a little codex about an inch-
and-a-half square, bound in marbled paper scraps and
illustrated with rubber stamps. When the next big
birthday came along, I had long scraps of paper from
another book project that I started idly folding into an
accordion. Somehow the idea of the rubber-stamp
images and the concertina came together and resulted
in my first little pop-up book.
Did this lead to more books?
The first pop-up books I made were very simple
structures. Over time I played with the form. I started
making more complicated pops - pops popping off
other pops, scenes with several layers of pops, pops
with little bits of paper sewn onto them. I started to
think about how I could make a book in this form that
I could print and bind. I thought of making the
concertina out of a piece of paper folded in half so that
when you cut the pops out and pulled them forward
there would still be a backing sheet behind them to
give the illusion that the pop-up was floating off of the
paper. I also decided to make the book read both ways
so you could use every valley fold for a pop-up.
How did this become "Souvenirs of Great Cities"?
As I was casting around for a subject I had the
opportunity to visit Paris. I sent back a lot of rhyming
postcards to friends about places I was seeing and that
gave me the idea of making books about cities I had
lived in: New York, London, Paris and San Francisco.
The more complicated pops in the city books came as
a solution to the problem of having to print the books
in two sheets and needing to deal with the bulky valley
fold where the sheets were joined — so that in New
The Movable Book Society
ISSN: 1097-1270
Movable Stationery is the quarterly publication of The
Movable Book Society. Letters and articles from
members on relevant subjects are welcome. The annual
membership fee for The Society is $15.00. For more
information contact Ann Montanaro, The Movable Book
Society, P.O. Box 1 1654, New Brunswick, New Jersey
08906.
Daytime telephone: 732-445-5896
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e-mail: montanar@rci.rutgers.edu
Fax: 732-445-5888
The deadline for the next issue is November 15.
Continued from page 1
York, I did a double-layered skyline view of New York
from downtown and midtown; in London 1 did the bridge
near Big Ben coming off the main pop as a secondary
pop; in Paris I sewed flags to strings off the Eiffel Tower
and in San Francisco I made little strips of bay - one with
a ferry boat — coming off the skyline. The result was very
playful, the set is almost like toy books.
When I was working on the Cities books, I referred to
them as toy books because they are as much like toys as
they are like books. I like pop-ups because they are
playful and work especially well in this small scale. I
have made books as big as three inches square in order to
sew more complicated pops — when I put multiple layers
together or sew things I need some space for my big
fingers to move.
Now tell us about that wonderful "Wedding Cake
Book".
1 made the "Wedding Cake Book" on the occasion of
a friend's marriage. I wanted to make a book that would
turn into a cake. 1 used the basic concertina structure
and, playing around with the idea of a round cake, put in
section pieces on the top and bottom of the valley folds so
that the book could be made into a full circle. This made
one layer of the cake. I put rubber-stamp images into the
folds that I printed in gold with embossing powder —
butterflies on the top layer, humming birds on the second
layer, and larger images that followed a rhyming text on
the bottom layer. I made little folded pieces of paper with
ribbon loops to connect the concertinas into open circles
and made a long thin piece of paper with a
bride-and-groom to wrap the layers around and make a
top for the cake. The three little books were tied with
gold ribbon and presented in a box with the flat "wedding
couple".
What do you have planned for your next pop-up
book?
I keep thinking I'm done with this form but it keeps
coming back. "Memories of Science," the book I did in
prototype last year, is based on that same concertina form
but it has french-folded signatures with verses in
alternate valley folds and rather more complicated pops
- all tabbed in and sewn through the backing paper. I
guess I find it endlessly fascinating to try to make it more
and more complicated and I think the small scale in
miniature books adds to the charm of the pop-ups.
Where do you get the topics or inspiration for your
books?
I get the inspiration for my books from life. What I
realized in graduate school is that all my books have
strong autobiographical elements. Some are more directly
related to my experience than others; some are more
personal and some are more abstract and tangentially
related.
continued on page 8
Movable Books at School:
A Report of my Experiences in Germany
Ulrich Tietz
Recklinghausen, Germany
From collecting to doing-it-yoursclf
What will happen if you have been collecting pop-
ups for 17 years with all your heart? Either you and
your books will be shown the door by your wife some
time or other, or both partners will collect pop-ups
together and will use this hobby not only by collecting
things but also for doing something in a creative way.
My first encounter with a pop-up took place in
1979; it was the German edition of Pienkowski's The
Haunted House. It goes without saying that in the
beginning I was only interested in collecting these
books. But then I came across books about folding
techniques like the series of books in English by
Tarquin Publishing and the books of Masahiro
Chatani.
I thought of passing on my own experiences to my
pupils. My wife teaches children aged 6-10 at a
primary school and I teach children aged 10-16 at a
comprehensive school. In the following essay I would
like to report about my experiences with pop-ups at
school; these experiences reach from simple cards, to
whole booklets, up to a huge "book" in the format 1,90
m x 1,30 m and weighing 44 kilos.
Movable books in Germany
Movable books are not very current in Germany.
Most of them, and the best of them, have not arrived
here at all. Publishing houses fear the risk of editing a
German version (Ron Van der Meer's "Packs" are an
exception). Smaller bookshops present pop-ups on
their shelves only unwillingly because they are likely to
be damaged by kids. As a collector you are dependent
on mail-order catalogs, on coincidence, and on the hit
list in Movable Stationery. The children we teach, in
most cases, come from families in low or middle
incomes. Such families cannot spend 30 or 40 marks
on a children's book of only six pages.
Growing interest for pop-ups among children
Due to the reasons mentioned above, it is obvious
(hat the pupils who are taught art by my wife and me
have rarely seen movable books. But this is also a
chance to motivate these children. They arc fascinated
once they have been shown pop-ups; and they are
immediately willing to try to rebuild the more simple
techniques. Later on, as they progress, the degree of
difficulty is enhanced.
Which technique for which age
The most popular technique with younger pupils is
the double "V," used for producing a big mouth. This
angle of crease is easy to rebuild and it also offers
many opportunities to make your own ideas come true.
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Big mouth
In practice I proceeded in the following way:
1. The children are shown examples of a specific
technique (the most beautiful and the biggest
mouths surely come from Jan Pierikowski and
Kees Moorbeek).
2. This technique is practiced on drawing-paper (also
with jagged cuts).
3. The children plan their own drafts for human
beings, animals, robots, monsters, etc.
4. These drafts are transferred to firm cardboard; they
arc colored and decorated further (with stripes of
paper or wool for the hair, with spiral or long
tongues, etc.).
5. Finally the completed cards can be bound into a
book.
The procedure I have described above can be
applied in the same chronology to older pupils as well.
Here are sonic folding techniques which have proved
to be of worth and which arc popular with pupils:
- rotating discs with windows (fixed by the help of
paper fasteners),
- mountain and valley creases with glued elements,
- horizontal "V"-foldings with glue tabs,
- sliding motions are suitable only for advanced
pupils because of slots and stoppers.
With any technique the trial-and-error stage is vital.
On selecting a motif, you have to make sure that it
does not protrude from the picture format when folded.
However, children will recognize very soon why
the producers of pop-ups arc called "paper engineers."
high size format; to apply other folding and drawing
techniques working excellently on paper or cardboard
was not feasible with plywood. However, after
attempting this and that and after studying many pop-
ups, several techniques could be applied which were
compatible with the specific construction of the book.
For each page of the book has an overlapping frame at
the rear on which is screwed the next page. Thus, a
hollow space of approximately 6 cm is created in which
the book's technique is hidden.
The solutions
The first scene shows a lorry from Hamburg in the
year 1946 in front of a mining scenery. A hidden
rotating disc makes smoke rise out of a chimney. The
sheave of a headgear is moved by an clastic band which
is hidden, too.
Movable Books at School:
Pupils produce an "XXL-book"
The case history
Recklinghausen is a city of approximately 130,000
inhabitants situated at the edge of the Ruhr area. It is a
region which has been characterized by the winning of
coal and by the production of steel during the last century.
In the severe post-war winter of 1946-47 theater people
from Hamburg travelled toward the Ruhr area to
provide themselves with coal for their cold theater.
After almost 300 km they happened to arrive at
Recklinghausen. Here the artists were helped by
miners. The artists themselves thanked these miners by
giving a guest performance. In the years to come, from
this lowly beginning, developed the "festivals of the
Ruhr," an annual festival of supra-regional
importance.
The idea
In 1996 the school where I teach was asked for a
contribution to the anniversary of the festival
mentioned above. On this occasion it came to my mind
to produce with my pupils an oversized movable book.
Very quickly I found an interested group of pupils
(aged 13); and they developed quite a number of good
ideas in a short time.
The problems
Very soon the first difficulties emerged, resulting
from the oversize format of the book desired. To apply
90° techniques was not possible because of the
Mining scenery
smoke and sheave move
In the next scene (from the year 1955) Hamlet appears;
he docs not only have a skull in his hand, but he can
also - by the help of a lever - throw it up if desired by
the pupils.
First Book Arts Jamboree a Bestseller
Roy Dicks
Raleigh, North Carolina
The first Book Arts Jamboree, the brainchild of our
own Ed Hutchins, was held on June 7-12, 1998 in Cairo,
NY (nestled in the Catskills) at the Cedar Terrace Resort.
The registration capacity of 60 people was hit early on
and, by all accounts, we had a blast. Besides Ed and
Robert Sabuda (there as an instructor), other members of
the MBS who participated included Judith Bennett,
David Damian Full, and myself. Also there were book
artists Lisa Melhorn-Boe (whose books were featured in
the May, 1998 edition Movable Stationery) and C. J.
Grossman, who attended part of the MBS convention in
Los Angeles.
The Jamboree was an intensive six days of instruction
and artistic sharing, with formal classes set up in the
mornings and mini- workshops and demonstrations in the
afternoon. Ed had one class in tunnel-book making and
another in producing work in multiple editions. Robert
had two sessions of the same class in pop-up paper
engineering. Bookbinder Carolyn Chadwick two sessions
of decorative box-making and book artist Miriam Schaer
taught one class entitled "Extraordinary Books/Ordinary
Materials" and another on "wearable books."
The spectrum of participants ranged from the those
who had never done anything like this before (me!) to a
wide range of artisans and craftspersons there to hone
their skills, as well as a number of people who are
working artists. All were there to add new knowledge
and experience to their arsenals.
I personally have never experienced such an open,
giving spirit, a feeling of "we're all in this together" as
was demonstrated among the participants here. All the
classes had projects that had to be completed outside the
class time, so much time was spent together in the
various studio spaces, which were available 24 hours a
day. There was a true sense of camaraderie among those
working into the wee hours, with a lot of "what do you
think of this" and "how can I get this to work."
Participants gladly shared ideas, suggestions and
materials, each delighting in the other's solutions and
inspirations.
The results were truly astounding, as was evidenced by
the "show and tell" held on the last morning. The amount
of creativity that had been poured into these projects was
certainly a product of a very positive synergy that had
been created all week. There were tunnel books with
automatically opening front flaps and with movable
parts. There were beautiful artworks in the form of a
book that could be worn around the neck or attached to
clothing. There were magical boxes which held
everything from found treasures to 3-D paperfoldings.
And there were X-rated pop-ups!
In addition to the formal classes, there were
demonstrations and workshops on papermaking,
marbling, gocco printing, buttonhole books, mono prints,
gelatin printing, paste papers, Jacob's ladders, flexagons,
and portfolio wrappers. Robert gave another version of
his well-researched history of pop-ups and Miriam gave
a history of wearable books.
Other events in the tightly packed schedule were
pre-dinner videos on book arts-related subjects, a book
exchange (of projects made by the participants), an
instructor's "show and tell," a sell-and-trade session, a
silent auction of donated works, and a history of alphabet
books. There were also the inevitable snafus, such as the
bus that didn't show up for the planned afternoon Catskill
tour and the sudden illness of Robert (too much popcorn
at the Wednesday night video party?) which forced the
cancellation of several classes. Nonetheless, Ed deserves
much praise for a well-planned, "get-your-money's-
worth" event. How he ran everything and had time for
his classes (and a daily newsletter for everyone!) is
beyond under-standing.
There are already plans for next year's Jamboree, so
be warned - sign up early!
Struwwelpeter Pop-up
Movable Book Society member Massimo Missiroli
has paper engineered a new edition of Struwwelpeter.
Six of the most famous stories - wicked Frederic, Caspar
and the soup, the child who sucks his thumbs, John look-
at-the-air who falls into the water, and Robert who flies
- are among those collected in this pop-up edition.
Massimo lives in Italy and has been dealing with the
theory and the practice of all kinds of pop-up books. In
exhibitions and workshops he has used pop-ups to
examine various means of communicating.
Das Struwwelpeter-pop-up-buch, by Heinrich
Hoffman, was issued by Schreiber. It is 20 x 25 cm. and
sells for DM 24,80. The ISBN is 3-480-2053-5.
The page from the year 1996 shows a woman who
dressed elegantly for a visit to Uie theater. First she
appears in an apron and with a facial pack made of
cucumber slices. Half of this symmetrical figure can be
folded, thus transforming this housewife into a
gentlewoman with an evening dress, a ladies' handbag,
and jewelry.
The last picture sends Uie spectator into the year
2046 and shows the theater of the future. The building
can be folded in a parallel way to the front. A foldable
cardboard tab with the respective date of the picture
hovers like a festoon over all double pages. This idea
comes from the Beatles book from 1985. The whole
book is 1,90 m high; it is 2,60 m wide when unfolded,
and it weighs 44 kilos. It was presented in the theater
during the festival in 1996.
The exchange of experience
The finished object being introduced to the local
press, the pupils asked proudly if they had produced
the world's biggest pop-up (or Europe's ...or at least
Germany's)? It goes without saying that I could not
answer that question.
But perhaps other readers of Movable stationery
could give their opinions on that matter, could report
their own experiences, could launch an international
exchange of pupils' works?
I am very much looking forward to your mail:
Ulrich Tictz
Langeoogstrasse 57
D-45665 Recklinghausen
Arizona Pop-up Exhibit
The 1 1th Annual Pop-Up and Movable Book Exhibit
will be held at the University of Arizona from December
1, 1998 through January 31, 1999. The exhibit,
consisting mostly of pop-up and movable books
published in 1998, will occupy cases in the Special
Collections Lobby, and the lobby and third floor of the
main Library building. This exhibit is free and open to
the public. A catalog will be available for those
attending.
The exhibit will feature hand made or limited edition
books made by Arizona artists. These will be exhibited
in the Special Collections Lobby. For four days following
the opening of the exhibit there will be a short
presentation (talks, demonstrations, and/or hands on
workshop) each day, in the Special Collections Lobby.
The schedule of presentations is as follows:
Tuesday, December 1, 1998
Dr. James Sinski, Exhibit Curator
Wednesday, December 2, 1998
Mabel Dean, Book Artist
Thursday, December 3, 1998
Joyce Brodsky, Book Artist
Friday, December 4, 1998
Shirley Johannesma, Book Artist
These events are intended for adults. The exact times
and titles will be announced later. Information can be
gathered from the local press, by phone (520) 621-4300
or e-mail SINSKIJ@u.arizona.edu.
Fourteen artists and (heir XXL-Book
Learning how to make pop-ups: Part II.
Robert Sabuda
New York, New York
These titles are for pop-up makers of any age, but
whose skill level is intermediate . Advanced books
will appear in the next issue.
Hiner, Mark. Paper engineering for pop-up
books and cards. Tarquin Publications 1985. ISBN
0-9062 1 2-49-9, $ 1 1 .95 US, 30x2 1 cm. 48 pp
softcover, simple black & white illustrations filled
with flat areas of colors.
Areas covered: V-fold, layers, box, rotating disc,
basic tab mechanisms.
Lessons or projects: 10 lessons, each
demonstrating a pop-up principle.
Intended audience: Adults.
Advantages: Clearly illustrated with lessons that
are to be cut from the pages and actually assembled.
Includes sidebars of "Technical considerations" and
ideas for specific projects. Considered a classic.
Disadvantages: Where's the sequel?
Irvine, Joan. How to make super-pops. Beech
Tree Books 1992. ISBN 0-688-1 1521-7, $6.95 US,
21x24cm. 96 pp softcover, humorous black & white
illustrations.
Areas covered: V-fold, layers, full 360 degree
3-D structures, cones, tab mechanisms, "Volvelle"
(rhymes with pole-bell; interlocking Victorian
fuming circle, audio mechanisms, rubber band
mechanisms, pop-up masks, large scale pop-ups.
Lessons or projects: Approx. 30 projects of wide
variety, each creating a finished object.
Intended audience: Children.
Advantages: Clearly illustrated with numbered
instructions. Excellent projects, many quite
challenging and requiring up to 20 steps. Some
patterns to trace or photocopy.
Disadvantages: Could use a few more patterns.
Jackson, Paul. The Pop-up Book. Henry Holt &
Co, 1993. ISBN 0-8050-2884-6, $18.95, 23x28cm.
160 pp softcover, color illustrations and photos.
Areas covered: V-fold, layers and full 360 degree
3-D structures.
Lessons or projects: Approx. 20 projects many
making abstract or geometric forms. Variation ideas
given for some of the projects.
Intended audience: Adults.
Advantages: Instructions clearly numbered and
accompanied by photos. Has a gallery of many
finished pop-up projects (although most are much
more advanced than the book's lessons).
Disadvantages: No templates or patterns to trace
or photocopy but measurements are given. Too many
abstract projects.
Jackson, Paul. Make it with paper - Paper
pop-ups. Quarry Books 1997. ISBN 1-56496-170-2,
$19.99 US, 22x28cm. 1 12 pp softcover, color
illustrations and photos.
Areas covered: V-fold, layers, "Tent," box, coils.
Lessons or projects: 1 1 projects each creating a
finished object: flowers, animals, etc.
Intended audience: Adults.
Advantages: Instructions clearly numbered and
accompanied by photos. Includes actual paper
examples which can be photocopied or cut out and
assembled.
Disadvantages: Only a few pop-up principles
explored. Too few projects.
Munneke, Idelette. Pop-Ups zelf maken.
Cantecleer 1988 (unknown if still in print, given to
me as a gift). ISBN 90-213-0430-9, price unknown,
14x2 lcm. 60 pp softcover, simple black & white
illustrations and color photos. German text.
Areas covered: V-fold, layers, full 360 degree
3-D structures.
Lessons or projects: 31 projects, each creating a
finished object: some abstract forms, others scenes
with people and animals.
Intended audience: Adults.
Advantages: Actual size patterns given which can
be photocopied to make the pops. Most projects are
layer variety requiring very few steps. Others are
quite complex.
Disadvantages: Only a few pop-up principles
given. Could be more diverse.
Palmer, Mike. Pop-up Greetings Cards.
Chartwell books 1993. ISBN 1-55521-897-0, $12.98
US, 22x28cm. 1 12 pp hardcover, color illustrations
and photos.
Areas covered: V-fold, layers, full 360 degree
3-D structures, box, paper chains, simple envelopes.
Lessons or projects: 38 projects, each creating a
finished object most of which are Jioliday themed.
Intended audience: Adults.
Advantages: Instructions clearly numbered and
accompanied by photos. Great projects. Has "star"
rating system for complexity of projects. Grid
patterns for each project included which can be
enlarged.
Disadvantages: Could use a few more pop-up
principles.
Watt, Fiona. The Usborne book of paper
engineering. Usborne Publishing 1997. ISBN
0-7460-2327-8, $5.95 US, 20x25cm. 32 pp softcover,
color illustrations and photos.
Areas covered: V-fold, layers, full 360 degree
3-D structures, tab mechanisms, "twisting box heads"
(not pop-ups), automaton of squawking bird.
Lessons or projects: 12 projects, each creating a
finished object: animals, 3-D scenes, decorated
boxes.
Intended audience: Children and adults.
Advantages: Clearly illustrated and numbered
instructions. Templates to trace for every project.
Interesting projects, some very challenging.
Disadvantages: Many projects are not actually
pop-ups even thought the title does say "paper
engineering" (but who says "paper engineering has to
mean pop-ups?). Several projects are 3-D paper
constructed projects only, and may be too complex
for younger pop-up makers.
continued from page 2
The cities of "Souvenirs," for example, are cities I had
lived in. "Memories of Science" (the next edition)
was based on my experiences in the sciences in school
and college.
Have you considered collaborating with other artists
on a book?
I am lucky to have a wonderful illustrator, my sister
~ Susan Hunt Yule ~ who was willing to work with me
on the Cities books to make drawings that would work
with the pop-ups I wanted to do. We would go back and
forth between drawing and engineering. I think my
ongoing collaboration with my sister works because we
share so much (genetics, personal history) that
communication is multi-leveled. When we first started
working together, it was more an art director/illustrator
relationship, but as we go on, there is more give and
take. Susan has started making her own books. My hope
is that we can build a stronger collaboration if we both
work in the book form. Many book artists confine
themselves to unique, one-of-a-kind books.
What appeals to you about making editions?
I find unique books are a good way to explore
thematic ideas, structures and forms. If I look at my
books over time I can see themes that come and go and
evolve. When I do an edition, I learn a lot about a
specific book — I always think when you've finished an
edition you know then how you should have done the
book. Especially in the process of binding, I find I
understand more profoundly how structures work and I
also find in the repetitive process a kind of meditative
state that often brings up new and different ideas,
inspirations and visions.
Have you ever considered making larger books?
I have made several editions of larger books. Working
large allows for a lot more elaboration and complexity,
though increasingly I try for more complexity in my
small books, too. I have always had a fascination for the
small (when I was young I collected dollhouse
miniatures) and I think working in a small scale gives a
certain kind of control — you can fit all the pieces in a
smaller space, work in a closer and more intimate way -
sort of the difference between hand-sewing something
tiny and full-scale tailoring. Probably the reason I started
making tiny books, apart from anything else, was that all
those off-cuts from larger projects were so seductive and
it was so easy to play with something small that you
could work in your hand.
Based on your experience with pop-ups, how do you
see your work evolving in the future?
I'm not sure how my work will evolve. I know that I
like to play with increasingly complicated pop-up
structures and I like the idea of creating something that
surprises readers and draws them in unexpectedly.
Changing Pages
The Collins Gallery introduced British artists' books
to the exhibition program in 1995 with "Brought to
Book." "Changing Pages" continues with this medium,
focusing on American and British movable books by
contemporary artists. The exhibition is intended to
appeal to all ages and will incorporate children's pop-ups
by major publishers, available for handling. This will be
accompanied by an introduction into the origins and
development movable books for children from the turn-
of-the-century to the 1980's.
The exhibit will include historic and contemporary
books from both private and public collections. The
works of over 30 artists will be represented with one-of-
a-kind and limited edition pop-up structures in addition
to over 100 recent books by British and American
publishers.
"Changing Pages" begins a two year tour in the U.K.
beginning in November 1 998. For a tour itinerary contact
Morag Davidson, exhibitions organizer, Collins Gallery,
University of Strathclyde, 22 Richmond Street, Glasgow
Gl I XQ Scotland.
ROBERT SABUOA
1 M - AWFUL
2 "fc - POOR
4 iV- Good
5 ^ ■ Superb
Amazing pop-up & pull-tab circus
performers. By Ken Wilson-Max.
1 Cartwheel Books/Scholastic. 0-590-37224-6
$15.99 US, $19.99 Can. 24x25 cm. 6 spreads. 2
multi-piece pops, 4 tab/flap mechs, 1 shooting paper
projectile, 3 removable paper clowns. Art: Bright,
brushy simple paintings. Plot: Circus performers strut
their stuff. Art is great, but not a lot of activity for
such a large book. Shooting man from cannon is a
definite plus. Paper Eng: Simple.
Annie ate apples. By Lynette Ruschak. Ill:
Bonnie Matthews. Paper Eng: Vicki Teague-
I Cooper. DK Ink. 0-7894-2478-9. $14.95 US.
19x25cm. 7 multi-piece pops, 16 tab/flap mechs, 2
wheels. Art: Humorous pen/watercolor. Plot: Annie
amazingly has at least one friend whose first name
and hobby begins with each letter of the alphabet.
Wacky fun. Lots to play with. Paper Eng: Simple.
Black cat, white cat. By Chuck Murphy.
Little Simon. 0-689-81415-1. $12.95 US,
$17.50 Can. 16x1 6cm. 10 pages. 3 multi-
piece pops, 6 tab/flap mechs, 1 flap. Art: Sophisti-
cated computer generated images. Plot: "A pop-up
book of opposites." Murphy continues his loosely
based 'black and white' series with very nice results.
Cats are elegant and regal, and the last pull-tab makes
it all worth while. Paper Eng: Somewhat complex.
Curious critters. Words by Alan Benjamin.
Ill & Paper Eng: David A. Carter. Little
Simon. 0-689-81586-7. $16.95 US, $22.95
Can. 23x23cm. 5 spreads. 2 pops, 7 pull-tabs, 1
sound chip of a very bad soprano. Art: Humorous,
colorful computer generated imagery. Plot: A variety
of hybrid animals, the likes of which you've never
seen. Terrific fun and silly as would be expected.
Sound chip is one of the best ever. Paper Eng:
Somewhat complex.
Desmond the dog. Text & Paper Eng: Nick
Denchfield. Ill: Ant Parker. Red Wagon
Books/Harcourt Brace. 0-15-201340-7.
$12.95 US. 19x1 9cm. 7 spreads. 3 pop/pull tabs, 1
large fold-up flap. Art: Humorous pen/watercolor.
Plot: The very simple adventures of a very
disobedient dog. Fun, bold art for young readers.
Paper Eng: Simple.
^A^ The Haggada of Passover. Design and
AJLjV Paper Eng: Keith Moseley. Ill: Linda
■^^^ Birkinshaw. The Israel Museum, Jerusalem
& Kidsbooks, Inc. 1-56156-498-2. $39.95 US,
$49.95 Can. 21x29cm. 66 pages. 3 pops, 16 tab/flap
mechs, slipcase for book. English and Hebrew text.
Art: Watercolor reproductions (surprisingly Maurice
Sendak-like in execution) of the Bird's-head
Haggada c. 1300. Plot: Major scenes and events from
the Haggada. A most unusual title due to the subject
matter and the original from which it is derived. Pops
sparsely placed throughout. A must have if you
collect (and can afford the steep price tag). Paper
Eng: Simple.
^A_ Lest we forget. By Velma Maia Thomas.
/fjLjV Paper Eng: Uncredited. Crown Publishing
ti&m Group. 0-609-60030-3. $29.95 US, $41.95
Can. 24x24cm. 32 pages. 1 pull-tab, 3 flaps, 4
removable paper items in envelopes. Art: Photos and
engravings. Plot: Exploring the origins of the
enslavement of over 100 million Africans with words
and visual elements from the Black Holocaust
Exhibit. Beautifully designed and full of details.
Quite moving and notable as one of the very few
African American movables. Paper Eng:Very simple.
The long-nosed pig. By Keith Faulkner. Ill:
Jonathan Lambert. Paper Eng: Uncredited.
Dial Books. 0-8037-2296-6. $1 1.99 US,
$17.50 Can. 24x24cm. 7 spreads, 6 pops. Art:
Brightly painted cut paper. Plot: As a result of his
vanity, the world's first pig is taught a lesson. Basic
and cute fun, although pops are quite predictable. For
very young readers. Paper Eng: Very simple.
Pop-up trucks. By Richard Fowler. Red
Wagon Books/Harcourt Brace. 0-15-
201681-3. $14.95 US, $20.95 Can. 23x23
cm. 5 spreads. 4 pops, 6 pull-tabs. Art: Humorous
pen/watercolor. Plot: Everything a young reader
wants to know about trucks. Basic technical
specifications are given for all 5 vehicles. Nice
detailed art for truck lovers. Paper Eng: Simple.
^.A^ Say Cheese! By David Pelham. Dutton
A*La Children's Books. 0-525-45979-0. $13.99
■<^*" US. 14x1 3cm (shaped like a 3-D wedge of
cheese). 12 spreads. 12 pops, 3 tab/ flap mechs, one
3-D mouse inserted in cover. Art: Humorous pert
watercolor. Plot: Grandma Mouse tries to get all her
family members to "say cheese" for a family portrait.
A delightful and tasty treasure for all. The unique
wedge shape and little mouse in a cheese hole are
particularly inviting. Paper Eng: Simple.
^A^ The think tank. By Ivan Muscovich. DK
P£K Ink. 0-7894-2429-0. $24.95 US. 21x28cm.
■^^^ 10 spreads, 10 paper pages of answers. 3
pops, 12 multi-piece paper games with various
playing pieces. Art: Photos and computer generated
linages. Plot: Games and puzzles to challenge logic,
perception and creativity. I certainly don't like to
think of myself as stupid, but yikes! Challenging is
an understatement! Or maybe I'm just too impatient.
All the movables look great and the text is full of info
but some of the little paper pieces are difficult to
move around. Paper Eng: Simple.
Top to tail bear. By Jasmine Brook. Ill:
Anthony Lewis. Paper Eng: Uncredited.
Barrons. 0-7641-5072-3. $7.95 US, $9.95
Can. 18x1 8cm. 5 spreads. 2 tab/flap mechs, 2 flaps.
Art: Humorous, cute pen/watercolor. Plot: A baby
bear's introduction to other animals tail's (boy, that
sounds dirty doesn't it?). Sugary and sweet for very
young readers. Paper Eng: Very simple. Also: Over
the moon bear, 0-7641-5071-5.
Questions and Answers
A. In response to a question posed in the last issue
requesting information about pop-ups in record albums.
I have a 33-V3 record "Walt Disney's Sword in the Stone"
- "LP Record and Pop-up Panorama Storybook." Along
with the record, the album cover has eight pages: three
double-page large pop-up scenes from the movie, each
with text telling the story. It is marked "Copyright 1963
Walt Disney Productions" and "Litho in Japan by
Graphics International, Inc. Los Angeles," numbered
"ST 4901."
Carolyn Lilly
San Diego, California
Further Explanation
Volume 6, Number 2 of Movable Stationery included
a Convention Trivia quotation "First edition Hallmark
books sold for $4 indicated in code on the books' back
cover, have double-sided artwork, and illustrated
endpapers." This statement was made about identifying
SOME Hallmark books published in multiple editions.
When two books appear to be identical, it is possible to
tell which one was issued first by the price code printed
on the back cover and printing on both the front and back
side of the pop-up.
Origami Festival
Charlotte, North Carolina will host the Southeastern
"Origami Festival: A celebration of the paper-folding
arts" from September 22-27, 1998. The festival offers
"something for everyone." Visitors, students of art or
science, fine art collectors, anyone curious about the art
of origami will appreciate the variety of activities
planned for this event. Among the featured presenters
and teachers are Japan's internationally recognized
origami master Akira Yoshizawa; Paul Jackson, author
of several pop-up "how-to" books; and Joyce Aysta,
Movable Book Society member and creator of pop-up
cards.
For more information contact the Southeastern
Origami Festival, P.O. Box 2573, Charlotte, North
Carolina 28247-2573, Phone: 704-375-3692 or Fax: 704-
542-3991.
New Publications
The following titles have been identified from pre-
publication publicity, publisher's catalogs, or adver-
tising. All titles include pop-ups unless otherwise
identified. Titles reviewed in Robert Sabuda's "Movable
Reviews" column are not included in this list.
ABC Disney. By Robert Sabuda. Disney Press September
. 8 x 10. 26 pages. $21.95. 0-7868-3132-4.
Circus! A pop-up adventure. Little Simon. September.
1 1 x 1 1. 12 pages. $18.95. 0-689-82093-3.
Dracula steps out. Orchard Books, September. 1998.
12 pages. 8!/ 2 x 11. 12 pages. $15.95. 0-531-30100-1.
Eerie feary feeling: A hairy scary pop-up book. Orchard
Books. 8'/2 x 1 1. 12 pages. $13.95. 0-531-30086-2.
Fire engine to the rescue: A pop-up book. [Contains only
tab-operated mechanicals.] By Steve Augarde. Tupelo
Books, September. 8 x 10. 10 pages. $14.95.
0-688-16328-9.
Robert Crowther's deep down under ground: Pop-up
book of amazing facts and feats. [Contains only tab-
operated mechanicals.] Candlewick Press, September.
18 pages. 8'/ 2 x 1 1. $14.99. 0-7636-032 1-x.
Our Lady of Guadalupe. By Francisco Serrano.
Groundwork Book, Distributed in the US by Publishers
Group West. September. 8'/i x 11. 12 pages. $16.95.
0-88899-335-8. Also available in Spanish. La Virgen de
Guadalupe. 0-88899-340-4.
SMITHSONIAN INSTITUTION ggjE,
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